The Breakout Novel – Part 2 – April 20, 2012

By Christina Laurie

Apr

24

Donald Maas continued talking about the three kinds of protagonists in a novel during his all-day workshop in Dedham.
First, the Everyman/Everywoman: what are their characteristics: are they good, strong, admirable, fun, notable? What is active or noble, positive about this character? Then give them a fatal flaw, something that trips them up on their way to their goal. This adds interest and conflict to the story.
Second, is the Hero/ine: put them in the way of danger, Maas encourages. Give them high authority, a problem or job with action and possible danger (like police, seals, high government position, etc). Give them a characteristic, something that makes them a ‘regular” type folk (like a tick, puts glasses in a strange place, can jump out of an airplane but never learned to Parallel Park). Then build the character into a bigger than life person to attack a problem.
The third type of protagonist in a novel is the dark protagonist, the anti-hero. He’s dark, haunted, wounded, self-loathing, or actually inhuman (shape-shifter, fallen angel, werewolf).
Finally, Maas encourages the writer to illustrate one important characteristic of the protagonist in the first five pages by SHOWING how he responds in one particular situation. This sets in our mind the type of person the protagonist is. How do we see the longing, desire, and need of this character? Is there something symbolic that the writer can show us to illustrate what this character hopes for, needs, wants? “Make the reader FEEL the longing for change, or normalcy,” Mass said.
Now write it!
Creatively,
christina

The Breakout Novel – April 15, 2012

By Christina Laurie

Apr

24

Last weekend I attended an intensive, all-day workshop with Donald Maas, author of The Breakout Novel and head of his publishing firm. After 24 pages of notes, my head was swimming, but here are some of the best points.
He opened by asking us: how do you experience fear, shame, anger, embarrassment, brokenness, loss, war, abuse, and what is unacceptable in life for you. Then he said, what is it like to feel these emotions? Put them into your protagonist.
Most characters, he continued, don’t feel strong/passionate enough. Many writers have resistance to writing the fearful emotions, but “GET OVER IT! IT’S ONLY A NOVEL”. What would happiness, anguish, fear look like for the character? What would s/he be able to do that s/he can’t do now? What is currently blocked that could unravel for him/her? What would make him/her more human? These are some of the questions he posed to deepen a character.
Create tension through conflicting ideals or values in the protagonist and antagonist or even in a minor character. This causes a problem, a dilemma for the character to solve, making a more interesting plot. Create full minor characters to make a deeper novel.
Next look for the irony in the scene. If emotions are high/strong, contrast them with normal or even dull spots. High action – low emotion, low action – high emotion. He encouraged us to pick eight scenes in our book and go bigger or smaller in the action, details, movement of scenes; find a new depth and work it out. “Too many MS are too dull and familiar – go deeper,” he said.
Creatively,
Christina

Line Editor

By Linda Williams

Apr

21

Greetings;
When a dedicated writer has mustered the courage to allow a stranger—publisher, editor, writing club critique person—to view one’s “finished” manuscript, a few important points should be considered. If such a person receives a manuscript in the form of e-mail attachments, within an e-mail, or by snail mail, there is no personal connection. Therefore, the reader reads that piece in his or her own way, which can be far from what the writer intended. If you, the writer, have written about a country setting in detail and a city-raised editor doesn’t understand what a spring-fed pond is, perhaps the rest of the feedback will be off course. The same applies to an editor, who is critiquing a fantasy piece, but has no education in that realm. Sometimes, the sensible thing is to ignore the feedback and send it out again to someone versed in your field. (Keeping current with the annual books published, which detail publishing companies’ specific needs for the current season, will save time and effort.)
When a manuscript reaches a copyeditor’s desk, it is in its final form. (As far as the writer is concerned.) There is no time for a copyeditor to change the form other than to make it grammatically correct, circle repetitive words and misspellings, and/or note inconsistencies of characters’ ages or physical characteristics. (An unscrupulous character can’t change into a good person without some progression of change and the reasoning behind it; characters must continue to be “real” to be accepted by a reader.) If the work needs more help, it will be rejected because there are too many other manuscripts waiting to be critiqued.
A line editor’s job is different, for she or he can help to reshape the offering into a work of art. When a new writer’s manuscript is returned by a line editor, however, it is not for the weak of heart because the piece, which the writer has assumed is almost completed, will often be strewn with corrections, sometimes on every line. The first time I received such a piece back, my throat tightened so it hurt. My precious “baby” was a mess! I threw it into a drawer. Thank goodness I didn’t throw it into the round file. (Rubbish.) A week later, I resurrected it and calmly went through each line. The result wasn’t nearly as horrendous as I’d thought. The line editor had noted each time there was a grammatical error or the like, so I could see how often I had made the same error. And, many notations were actually positive. She liked the plot, the POV character and the scene descriptions. She also wrote that the dialogue helped bring the story to life. The “mess” when considered in the right frame of mind, did wonders for my morale. I made the corrections, re-wrote the piece over and over again, and sent it off to a contest. It took a second prize and I was sent a check for one-hundred dollars. Please remember if or when your “feelings get hurt,” by an editor or a critique to take it in stride and move forward. I love the old proverb, “…there’s no sense in looking backward, it’s not the way you’re going.”
Until next time, remove the weeds from your writing garden so good plants can flourish. Be well. Linda

EARTH DAY AT EIGHT COUSIN’S BOOKS

By Joan Walsh

Apr

20

April 18, 2012, Anne Barber and I celebrated Earth Week at Eight Cousin’s Books in Falmouth center. We shared our picture book entitled CAPE COD MEMORY MAKERS Explore the Town of Falmouth, with young children from various towns in Massachusetts.

Many children proudly wore their MEMORY MAKER buttons after purchasing their new interactive writing journal.

JOAN

Writers Need Readers

By Linda Williams

Apr

16

Greetings;
“Hey you!” rudely accomplishes what your story’s first sentence and paragraph should do. There is no timid tapping there for attention. When it comes to writing, all of your valuable time spent alone will be wasted if no editor is interested enough to read beyond the initial sentence. If it doesn’t SHOW something unique to an editor, it will never evolve into magazine or book form and there will be no chance for readers to read it. In critiquing manuscripts for blossoming writers, my comment, “Here’s where the story begins,” often appears three to five pages into the story. If your lead grows too long, (Spreading onto a second page is a good ruler.) revise and cut it.
A good writer relates topic to the reader. Decide before writing a word what audience you want to attract, both by age and interest. Whether writing from personal experience or perhaps relating some little-known historical fact about someone famous, be sure your words are tempered toward the age and interest of your reader. There are definite guidelines available in both Book Markets for Children’s Writers 2012 and Magazine Markets for Children’s Writers 2012. Such books are available in your local library and can be found in book stores for about $27-30. Every publishing house lists what is acceptable or announces “no unsolicited submissions,” saving you time and expense of sending a piece to that publisher. A sports story, written for children, must be geared to a sports’ audience using correct terminology and reasoning, which they can understand.
Let your reader know in advance whether he/she is embarking on an adventure of fun, fantasy, horror, or perhaps moving into some unique awareness with the help of faith and friends. Whatever the writer’s reasoning for writing the piece, it should be clear from the beginning. I am awed by a fellow-author’s ability to create a world of fantasy. Melinda has spent untold hours researching the languages of gnomes and the like–yes, there are actual gnome languages. Her vivid imagination uses fascinating logic in choosing characters’ fantasy names. Originality is the key as she pursues in-depth research and forges ahead with a plot, which will unlock a publisher’s door. Now it’s time for you, the writer, to work for your reader, keeping in mind the “who and why” you want to attract. Good luck.
Until next time, do set aside an hour just for you, somewhere in the coming week, and enjoy the warm weather. You’re worth the effort. Be well. Linda

Books to Movies

By Melinda

Apr

15

 

 

 

 

 

 

 As all the world probably knows, “Hunger Games” recently came out in theaters. No, I haven’t read the book or seen the movie, but my daughter has. And, after several books she’s read and then seen the movie, I can tell you she generally hates the movie. I constantly hear..”they forgot this,” “that quote was from a different scene,” “I HATE the movie!!”

In general, I don’t give it too much thought. I loved the “Harry Potter” series (movies and books). But there is one book that I love that’s been adapted many times into a movie-”Jane Eyre” and I have a beef. They always end when she finds him-blind, broken and alone. But that is not the ending scene in the book. JUST ONCE, I’d like an adaptation to end after she has a baby. Why? Because while it may seem anti-climatic to some there is great HOPE in that ending. Life is beautiful, it goes on and his sight comes back enough to see that his son has eyes like his were. I always feel gipped when I see the movies.

What about you? What are your pet peeves about books made into movies? Do you have a favorite book that a movie ripped to shreds or left you disappointed?

 

QUERY VS SYNOPSIS IN FICTION

By Joan Walsh

Apr

11

Your query is a one page letter that needs to entice an agent or an editor and leave them asking QUESTIONS. It is more of a tease, inviting the reader to ask for more chapters. It is one page in length.

 Your synopsis needs to tell the story and provide agents and editors with ANSWERS.  It is much longer than a query, but it needs to be as tightly written as a query, using powerful verbs, sentence rhythm, and elimination of repetitive words.

 The synopsis is an overview of your entire novel, proving to the agents and editors that you understand your main character’s inciting incident, story structure, plot arc, plot twists character description (that is carefully woven into the story), and a satisfying ending.

 You need to show the internal and external desires of your protagonist and antagonist. These main characters need to be described to the extent that agents and editors love and or hate your characters passionately.

Each major plot change and subplot must be mentioned, and contain information about important character’s actions and reactions. Show how the tension of your novel builds, and be sure to include the story’s midpoint, (where the plot probably takes a major turn). Always mention how your characters solve their conflicts, either alone or with the help of what other character.

 If you have sub-plots within your story, you must mention how challenges are resolved.

 For SF/Fantasy writers, you’ll need to include world-building as well.

 Make it your business to know the length of your synopsis, based on the requirements of a particular agent and editor. Many of them run between 800 and 1000 words. You must tell the story’s ending, no secrets allowed.

 Both the query and synopsis are selling tools.

CAPE COD MEMORY MAKERS CELEBRATES EARTH DAY

By Joan Walsh

Apr

10

Get Ready for Earth Day
 

Wednesday, April 18 11-1 Joan Walsh, author of Cape Cod Memory Makers : Explore the Town of Falmouth, introduces readers to making their own memory journals. She has some great ideas, and her illustrator, Ann Sessions Barber, will be along to help you illustrate your explorations if you choose.
 
At the same time, you can pick up a 300 Committee Passport (free!) to some of the most interesting spots among Falmouth’s open spaces. The spaces make great areas for family explorations with kids ages 6-13. The 300 Committee is offering Open Space Open Houses at four locations on Sunday afternoon, April 22.
 
JOAN

Setting a place for you.

By Linda Williams

Apr

9

Greetings;
Author Raymond Chambers wrote, “Throw up into your typewriter every morning, clean up every noon.” His words show a not-so-nice visual, but his message was and is clear. Initial writing should forge ahead without thought of spelling, grammar, or scene so creativity isn’t stunted by repeated pauses to make corrections. Each stage is a separate job and should be respected as such. Once the ideas are set in motion and the plot and characters take over, a good writer goes along for the ride. People, who are unable to set down a story, happening, or memoir don’t understand how a writer can get “lost” in the story being written, but it is what happens.
When my four children were young, I worked to set aside at least one half-hour in every twenty-four-hour period to separate myself from the real world. Sometimes it was five in the morning and other times it was while the children napped. Whatever worked. Every writer should choose a certain time and a quiet spot somewhere in his or her apartment, house, or outdoors to “become the character” in one’s unfolding story. Otherwise, how can we breathe life into our characters if we don’t “feel” what they are feeling, or understand the “whys” of their behavior.
During daytime periods, the children were kept busy with pre-arranged “work” for playing is a young child’s job. (Child Psychology 101) They enjoyed working at the dining room table drawing pictures about places they liked or wanted to see. I set a timer so I wouldn’t “stay away” too long, and they could check it to see when I would “return” to their needs. The plan didn’t always work, but after a while they understood what I meant when I said, “Don’t come to me unless you are bleeding.” A friend thought it was a terrible thing to say, but Like Raymond Chambers, the message wasn’t pretty, but it was clear.
Until next time, please remember, if you don’t set a place for you at the table of life, nothing lasting can or will emerge. Be well. Linda

Ten Essientials to My Writing Life

By Christina Laurie

Apr

6

What are the important items you need in your life as a writer? Here’s my list:

1. A large desk – enough to hold my lap top, file, pencil/pen container, files, calendar, writing materials and notes.
2. File cabinets – I file each story/book in a different drawer in a file folder or notebook. In another I have books or stories completed but not published. In a third I have all my writing information files and personal /house files.
3. Bookcases – hold all my reference books and literature
4. A good library – includes a dictionary, thesaurus, rhyming dictionary, concordance, and books on writing and publishing.
5. Beverage – When writing I become thirsty. Coffee in the morning, water, and then tea in the late afternoon.
6. A daily calendar – It’s a loose leaf one so I can punch correspondence and include in date. I record when I’ve sent out items, writing appointments, money spent (with receipts taped to the day), published works, responses, etc. This comes in handy at tax time.
7. A break – I often take a day break by walking to the post office (1/2 mile), gardening (spring-fall) or house pick up (winter). A longer break may include a day of skiing, shopping & errands, visiting grand children, a bike ride, kayaking, etc.
8. A writing schedule – although I often don’t keep it, I have blocked out specific times to write: 10-1, 3-5 and 7-10 p.m. on three days a week. I usually get one of these times into most days.
9. A writing group – is essential to improving your work. Nothing like a group of peers to critique your writing. It will set you on the right track and learn better ways of creating.
10. Knowing when to stop – I often stop writing in mid-sentence or mid-paragraph. It’s easier to pick up where I left off AND this defeats writer’s block. At night I often dream about the plot, problem, or character flaw, awaking with the problem solved.

One word of advice: Turn off the email! – I limit myself to a half-hour a day to email, usually 10-10:30 a.m. Otherwise, I could be at it all day – and sometimes has done so – much to my regret!

What are your 10 most important essentials to your writing day?

Creatively,
Christina

Self-publishing

By Linda Williams

Apr

4

Greetings;
Reasons to self-publish: 1-Traditional publishing can take years, and I can’t wait that long. 2-I can deal with self-publishing costs because it’s important enough for me to hold my own book in my hands. 3-I want to more than a writer; I want to be an author. 4-I want to be the one in bookstores signing a new book. Sound familiar?
I recently attended an all-day book fair in Florida. Fifty-six authors attended and over ninety-percent of the authors had self-published their latest work; most of them were well done. However, noticeable in too many was the absence of a professional critique–glaring mistakes in spelling, adverbs jumping off the page s like fleas, and time sequences jumbled. When authors were asked about using a professional editor to do a final critique, the most frequent response was, “…costs too much.” Prices ranged from four-to-six-hundred dollars with some editors charging two-to-three dollars a page for each error found, and/or twenty-five dollars an hour. Big decision to spend so much money, when the initial cost can run into the thousands, depending on how many copies are ordered.
When asked, “Who critiqued your book?” many authors responded, “… friends and family members read it for me.” (How many loved ones are going to be honest enough to say, “This needs work ,” or learned enough to know how to fix it.) One elderly woman said, “I have my computer’s spelling and grammar check.” When I noted computers can’t tell the difference in spelling words like, “their, there, and they’re or to, two, and too,” her eyebrows lifted and she responded, “I suppose that’s so.” Friends and family will buy her book, and perhaps it’s enough.
There are myriad self- publishers, who will publish you book without a professional critique because you’re already paying them. Extra charges include everything from the critique to searching for screen rights. (One friend was quoted $5,000 for that service.) Finally, an important question should be, “What will it take to complete your dream?” When you know that answer, work toward your goal.
Until next time, never give up on your dream. Be well. Linda

 

Killing off a character

By Melinda

Apr

3

I have reached a part of my book where I felt it necessary to kill a character. Having never “offed” someone, I really struggled with it, but it was my fellow writer’s group member, Linda, who convinced me to do it. It was painful, I actually cried when I did it. I LOVE this character, but she had to go to move the story along. I found some tips to consider before killing off a character..a Blog post on Always a Writer Blog called Six Tips on the Art of Killing Characters.

The first-, you can’t kill a character just because. Check!-My character has to die to provide the impetus for the main character to do the right thing.

Next-The reader has to agree that the death was for the best.-Well that remains to be seen, but I think that the reader will agree.

Third-Have a logical death. Without giving away too much, this is definitely a logical death. My character, a gnome, lives underground. In the midst of a battle, the villan sends snakes into the gnome holes. Unfortunately, many gnomes meet an ugly fate, but I concentrate on the death of one particular gnome.

Fourth-Don’t resurrect too many characters. Now, as you can guess I am working on a “Fantasy” novel. I understand that resurrection is a handy tool for those characters a writer doesn’t really want to kill, just make it look that way. Since this is the first character I’ve killed, with no plans to resurrect, this doesn’t apply just yet, but I will definitely keep it in mind.

Fifth-Don’t be afraid to do it. I was. I sat for hours writing other scenarios and none of them had the effect I wanted or needed for the story. I really, really didn’t want to do it. I think (hope) that the reader will hate me for doing it, even as they see the need for it. I’ll hold off on whether I should thank Linda or blame her.

Last-Listen to your characters. My gnome was  brave, polite and a true friend. Her death, I believe, reflects her dedication to a cause  and strength of conviction. I hope the reader feels the same way.

But, I knew that I couldn’t end with just the death. There had to be a reaction to it, from the main characters and also from the surviving gnomes. And here inlies one of the difficulties with creating your own world. You have to create culture as well. How DO the gnomes respond. How DO they deal with death. What ritual/s are there, etc. It’s both a challenge and fun. I do hope, though, that I don’t have to kill off many more characters I come to love, but if I do, I’ll grab a kleenex before I start.

Listening to Geraldine Brooks

By Christina Laurie

Apr

2

Last week several from our writers group finessed our reading time to attend a lecture at Falmouth Academy by historical non-fiction writer Geraldine Brooks of Martha’s Vineyard. Her books include “Year of Wonders”, “People of the Book”, and her Pulitzer Prize winner “March”. Her subject was “Details of Language and Importance of Narrative.”
“Find a story that intrigues you,” she advised, as she related how she “met” her character Caleb while doing research for another book. She likes stories “where I don’t know everything,” where she knows something but needs to fill in facts and narrative.
“First I need a voice,” she said, confessing that she prefers a feminine narrative voice. “Someone has to rise up out of the grave and speak to me. I am drawn to voices not heard in the history books.” She explained that sometimes she lives with a name or historical event for months before something or someone emerges. Once she finds that voice she begins to research and record the story. She moves through the plot plan asking “what if …” and “what if it had gone this way …” to spark her imagination. She admitted that it takes three or four years to complete a book.
“It’s important to get the language correct when you’re writing historical fiction,” she said. Words we use today may not even have been created in the time of the book. Idioms and phrases may be out of place. For that reason, she devours journals, newspapers, public records, genealogies, court cases and letters until the voice and the language become clear. She has found voices in church records and local court cases where a woman must speak for herself.
With a smattering of humor and many personal stories, Brooks charmed her audience, which filled the Academy gymnasium. It was a most entertaining evening.
Creatively yours,
Christina

Your Unique Voice

By Linda Williams

Apr

1

Greetings;
In order for a story to come alive, the author’s presence in the form of dialogue is necessary. Without a strong voice, imagination isn’t stirred within a reader and attention is soon lost in boredom. Our goal as writers is to immerse our young readers into a story without them realizing an adult is behind the words. They must believe the POV (point-of-view) character is the one creating those thoughts and words.
How is such a feat accomplished? First, decide what age group you want to target. Then take time to sit back and remember what was happening in your life at that age, (A good writer only writes about what he or she knows or has thoroughly researched. Otherwise, the story falls into a “telling” mode, and that is boring to children.) How did you, the child, feel about life at a particular age? What is experienced at five is vastly different from experiencing a similar situation at ten.
Follow your memory. Your unique voice is easy to acquire because it’s already within you. What can be difficult is pulling it out and trusting yourself enough to use it. What you’re resurrecting is real because you experienced it. Set a scene and insert your memory-emotions into words being spoken by the POV character, and also by minor characters. (It’s a great catharsis to move sad memories out into the open, to be reasoned with as an adult. Psychologists use the method to help heal old, emotional wounds. Be courageous. Use your experiences.) The more a writer practices, the better the results, for when one memory surfaces it often sets another one free. Along with good memories, the process is apt to resurrect negative emotions, but it’s a good thing for there is much stress experienced in growing up, no matter what the time period, and those thoughts and emotions are what you need to capture and hold the readers’ attention.
Most important is the vocabulary used. In order to write effectively for today’s young readers, one must spend time around them and simply listen to what is being said, their current vocabulary, and the body mechanics used while speaking and interacting with their peers. If there are no children in your life at present, go looking for them. The mall is a great place to listen to teens. (They openly talk about their lives as if in a private room.) Wherever you go, take a small, unobtrusive notebook and pen to record what is being said, the topics discussed, and the reasoning and emotions displayed when speaking. Volunteering at a library or school for a few hours a week is a great avenue for listening and learning.
Finally, when your story is written, ask yourself those over-all questions, which must be considered if a story is to be successful. Would the content have aroused my interest enough to want to read it at that age? Is there conflict between the characters, which is resolved? Does the POV character emotionally mature as the story progresses from selfishness (The “Id” or initial stage of development.) into a more sharing person? If there is a moral point, was it interwoven within the plot without being preachy? Lots to consider, but when an editor accepts your work, the joy is worth the work.
Until next time, have a fun week, listen to a child, and be well. Linda

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